Born in Yibin, Sichuan in p>1958. In 1986, he graduated from the College of Fine Arts of Southwest Normal University (now Southwest University) with a bachelor's degree in oil painting. Vice President of School of Design and Art, Commercial University, member and professor of academic committee, academic leader, vice president of China Painting and Calligraphy Research Association, member of China Oil Painting Society, member of Chinese Painters Association, and senior expert of China Digital Art Design Expert Committee.
published more than 6 papers and art works in core journals; He has published many monographs such as Design Color, Contemporary China Oil Painter-Zhang Jiyu's Oil Paintings, Zhang Jiyu's Color Paintings Collection, Color Improvement and Sketch. Among them, the book "Design Color" published by Chongqing University Press (reprinted for 15 times and used as a teaching material by related majors in more than 2 colleges and universities) won the first prize of the excellent bestseller of the Seventh National University Press; The oil painting "Hongcun" won the Best Creation Award of "China Culture and Art Government Award' Wenhua Award'" sponsored by the Ministry of Culture and the China-foreign Cultural Exchange Center. More than 2 works have been selected for art exhibitions at or above the provincial level or published in professional journals, among which Bath, Flour, Root, Grass Flower, Calla Lily, Miao Sewing Girl and Tibetan Residence have won national or provincial and ministerial awards.
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Personal honor Zhang Jiyu's work "Summer Lotus" was awarded as "the symbol of Chinese literature and art" by China National Artists Association in 29;
In p>29, the oil painting won the first prize of the first "New Year Cup" of China Calligraphy Artists Association;
In p>29, the oil painting won the gold medal of "Shengshi China Award" by China Painting and Calligraphy Artists Association;
In p>29, the oil painting won the first prize of the International Sinology Research Association and was named as "Man of the Art in China";
In p>21, the oil painting won the second global Chinese "Hundred Flowers Award" gold medal of China Calligraphy and Painting Society;
In p>21, he was awarded the highest honor award of lifelong achievement by the World Chinese Fine Arts Society.
The oil paintings Bath, Beyond the Mountain, Ancient Rhyme of Phoenix and Tujia Dwellings were introduced by People's Daily Overseas Edition, and were awarded as "Famous Artists of Chinese Art Gardens".
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Award-winning work
Design Color won the first prize of the excellent bestseller of the 7th National University Press, in 26.
Scenery-Excellence Award Korea Modern Artists Association China-Korea Art Exhibition 26 and 8
Flour won the gold medal in the People's Daily's "Famous Artists' Golden Cup Slurry" activity in January and December, 24
The Story of Spring won the silver prize in the World Art Garden Cultural Research and Exchange Center, Oriental Art Magazine, the organizing committee of the International Art Garden Star Painting and Calligraphy Art Competition 24, 1
Excellent Award of Design Color Sketch, Chinese Academic Forum, Hong Kong Press and Hong Kong Education Press in 24, 1
Excellent Award of Mood and Tone Training, China Education Reform and Research in 24, and 1
Excellent Award of Miao Sewing Girl was selected for the third Chongqing Art Exhibition in 2. City artists association
may p>25
calla lily award (the 3rd watercolor painting exhibition in the city) City Cultural Bureau and City artists association
Summer Lotus award Chongqing's first oil painting exhibition and the 3rd China oil painting exhibition Chongqing works exhibition 23 and April
Summer award Chongqing's first oil painting exhibition and the 3rd China oil painting exhibition Chongqing works. The Propaganda Department of Chongqing Municipal Committee and Chongqing Federation of Trade Unions won the second prize of the first exhibition of teachers' calligraphy and painting works in Chongqing in 22 and 6
The Story of Spring in 23 and 9
The Silver Prize in the International Art Garden Heart Calligraphy and Painting Art Competition, and the Performance and Characteristics of Gouache in 24 and 4
won the second prize of outstanding academic papers in the new century. China Association for International Exchange of Economic and Technological Development, China Academy of Management Sciences, 22, 7
The Feeling of Cold and Warm in Designing Color Sketch and the Law of Change, Hong Kong Press Forum, Hong Kong Education Press, 24, 1
The Artistic Conception of Tone and the Training of Tone, 24, 1
Edited this paragraph < The application of color and light in this work is close to the realm, which well shows the sense of space, volume and texture of the scenery. These are clear at a glance, so don't bother to chew. The shepherd boy, goat, and even mud and stone walls depicted by realistic methods are vivid, interesting and difficult. So, why chew it?
What needs to be chewed carefully is what is Mr. Zhang's real intention in creating this painting, or what is the connotation of this painting trying to tell people? But this is hidden, not clear at a glance.
"beyond the mountain" is relative to "beyond the mountain". So, is the scenery painted in the painting on this side of the mountain, not on the other side? If it is understood that it is on the other side of the mountain, it should be the author and his environment on this side of the mountain. This solution also works. That is to say, the author went out to sketch, climbed over a mountain ridge and found the shepherd boy, goat, house and sheepfold. They were full of poetry under the warm sunshine, which was different from the scene on his side of the mountain, so he moved them onto the canvas with admiration. There are many frames created in this way, but Beyond the Mountain does not belong to this category; It was the shepherd boy's sharp eyes that made me think elsewhere.
It occurred to me that the author painted "this side of the mountain", but the title suggested "that side of the mountain" was not painted. But all the scenery on this side of the mountain is alienated into the scenery on the other side of the mountain through the shepherd boy's eyes. The scenery on both sides is absolutely different, and the contrast is strong, perhaps there is a world of difference. From the shepherd boy's gaze, meditation, yearning but helpless expression, we can see that the mountain side can only be more advanced, prosperous and lively than the mountain side, not the other way around. How advanced, prosperous and lively it is, you just follow the shepherd boy's eyes to look out and imagine. Imagination is richer than reality; Imagination is also more brilliant than painting. This is the genius of Mr. Zhang.
the artwork should have a chewing head; What makes the audience clear at a glance is no different from boiled water, and it is tasteless when drunk. Mr. Zhang Jiyu, who graduated from the Academy of Fine Arts and engaged in art teaching and research, has many oil paintings that are chewy.
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Classic Comments
Zhang Jiyu and His Paintings
Ge Weijie
In Yibin art circle, everyone knows the "bald painter". He is the painter Zhang Jiyu who worked in Yibin for a long time and taught at chongqing technology and business university Institute of Design and Art.
We have known Brother Jiyu for more than 2 years. Because of studying in art colleges together and favoring color scenery, we have the same perception in painting. A few days ago-a thunderstorm night, I suddenly received a phone call from him. The excitement of seeing him for a long time made me completely forget the time, wind and rain. That night, some of our painting friends drank wine, talked freely, talked about art, talked about life until late at night, and talked about a picture book he recently published. I got the first move and asked for a book to read carefully at home. I don't know if it was the wine or the excitement of the reunion of old friends. I read the album repeatedly and read it for almost one night, and my mood was excited by his color.
for more than 2 years, he still talks with nature with all his emotions and reshapes nature with his own colors. There are idyllic mountain homes, murmurs of small bridges and flowing water, vicissitudes of ancient cities and alleys, colorful wildflowers on the grass, hazy and beautiful at night, leisurely and far-reaching countryside, and golden autumn in the back light ... Reading his paintings, you can always feel some kind of serenity, quietness, elegance and beauty, but in a quiet place, there is a little sadness, loneliness and sadness. The artistic personality of Zhang Jiyu's oil painting Dazu Stone Carving 1 shows the artist's artistic tendency and attitude towards life. Zhang Jiyu's introverted and calm personality is shaped by his attitude towards life. It can also be said that his personality makes his attitude towards life more calm and natural. When others "build a car behind closed doors" in a comfortable studio and conceive their own spiritual paradise, he doesn't catch up with the times, thinks that the "tree of life" is evergreen, gets inspiration for creation in life, and still keeps moving in the direction he thinks, with a calm attitude, keeps the fleeting splendor with saturated and rich colors, and conveys his motto of life from chaos to light.
His love for nature makes him good at color landscape painting. Paints such as oil painting, watercolor and gouache are in his hands, which become his tools to communicate with nature and let it gallop. His works have been exhibited and won prizes in many exhibitions. He shows rhythm and spirit in the unified and vivid small strokes and short line order. While capturing the aura of nature, it also shows a fresh and clear mind, and at the moment when the life modality is accompanied by each other, it is combined into the environment and leisurely enters the painting.
Zhang Jiyu's works are simple and elegant in tone. In the expression of color, we never describe nature according to the customary routine. While pursuing the richness and complexity of color and the dialectical harmony of unity of opposites, we carefully grasp the subtle contrast between the warmth and coldness of color, carefully add subtle warm colors and gray colors to the cold tone, and infiltrate some cool colors that can only be understood into the warm tone, so as to blend together organically with elegance, lightness, wetness and brightness. Feeling with a pen, clumsy and skillful, virtual and real, tight and loose, and casual and casual are interdependent. It shows a strong cultural heritage and a scroll atmosphere. Rich in harmony, broad in Jing Ya, a kind of magnanimity, a kind of character and talent, pure and honest, fresh and elegant, unpretentious. Reading his works, we can certainly feel the aesthetic pleasure brought by his superb and skillful artistic techniques, and at the same time, we are moving away from, observing, brightening and even grateful for the mystery of life. Their beauty lies in the inner direction of the spirit, and the pen from the gods urges your mind to sublimate.
Following Brother Yu's decades, he embraced nature with his abundant emotions and expressed his feelings with nature. In the past few decades, he has achieved fruitful results and made remarkable achievements, and has long enjoyed a good reputation in the oil painting field. Now, although I am in middle age, I am still childlike, and I love nature more earnestly, and my love for artistic creation is even worse. Suddenly, I remembered a self-portrait he painted more than ten years ago. The image of a bald head shining in the shade of the sun is still fresh in my memory. The highlight of the backlight shining on the bald head through the leaves is so bright, reflecting the sublimation of his art and the crystallization of his wisdom. With a flick of a finger, more than ten years later, he is still persistent and striving to achieve his own art in a passionate life. I wish the "highlights" on his bald head are brighter, and I deeply wish Zhang Jiyu evergreen in the tree of artistic life.
the perfect combination of literati's freehand brushwork and abstract expression
—— Reading Zhang Jiyu's natural style oil paintings
He Liang For more than 3 years, Zhang Jiyu, with a passion for artistic aesthetics and artistic expression, walked in the countryside and returned to nature with the firmness and chic of a lone ranger, insisting on exploring unique aesthetic interest, color language and artistic context in landscape sketch. Through the color aesthetic feeling and image expression of nature's passion, this paper explores the combination of literati's freehand brushwork and abstract expression, which embodies their attachment and preference to nature and hometown, and expresses their life sentiment and aesthetic pursuit. Zhang Jiyu's attachment, preference and pursuit can be said to approximate the persistence and passion of religious believers. Reading his oil paintings is a pleasure. While enjoying and moving, we can't help but sprout our nostalgia and love for nature and our homeland.
first, the perfect combination of color aesthetic feeling and image expression
Zhang Jiyu's works are filled with a kind of passion, which is sprayed out through colorful and magnificent colors and the result of sincere dialogue between the painter and the soul of nature. Zhang Jiyu said that nature has life and soul, and we can't ask for it with luck or some vulgar mentality. The painter's sincerity and frankness of caring for nature, loving life and pursuing freedom have stimulated the painter's colorful aesthetic interest, spiritual image and creative passion, thus realizing the perfect combination of formal aesthetic feeling of color and rational spiritual image, and also creating the elegant taste of works from perfection to beauty.
The expression of natural color beauty in works is obviously a form rather than an end, and it is not a purely visual expression. In Zhang Jiyu's view, the aesthetic feeling of color is only an aesthetic attitude and expression form of the painter's theme, and it is more important for the painter to express his inner deep feelings through various expressions of the subject of the object. Therefore, the work is a figurative metaphor and an image that the painter is eager to tell or express from the heart. In his words, "form and expression are not the art itself, but the essence of art lies in people's hearts, people's wishes, and more importantly, people's feelings." We are used to looking at this kind of color beauty through the eyes of some kind of social care. As everyone knows, painting is often as uncertain as the appreciation and interpretation of music, and the "content" or theme expressed in many paintings is profound but may be vague. Many of Zhang Jiyu's paintings are filled with a kind of passionate beauty, but even some landscapes that are imitated by impressions are often expressed in abstract colors. As the most basic and important element of painting, color is obviously dependent on other basic elements, and the passionate interpretation of point, line and surface and the artistic expression of image modeling are undoubtedly complementary. It is true that the pursuit of color aesthetic feeling is not the pursuit of pure visualization. In my opinion, even a painter who worships color and light and shadow may subconsciously pursue some imagery metaphor or implication other than the pure visualization of color expression. At this point, I believe that even the pioneers of early impressionism are no exception.
why can Zhang Jiyu's paintings move people? Because he vividly showed the charm and beauty of nature and customs that were touched in his life through the aesthetic feeling of color, even a pear garden, a cherry forest or a secluded naked swimming pool in the countryside, naturally aroused the public * * * through the painter's passionate color performance and interpretation. The painter's aesthetic concept and spiritual image are not formed overnight. It must be the formation process of the painter's life experience and artistic exploration for many years. Of course, from the perspective of works, nature is also a harmonious process of subject image and formal expression. Therefore, when I first read Zhang Jiyu's "Natural Series Oil Paintings", I was shocked by its color beauty! Reading his "Style Series Oil Paintings" again, I was moved by his local complex! Reading his China Scenery Series again, I am impressed by his aesthetic concept and artistic spirit! We must never ignore the phenomena of Li folk interest that reflect the normal life of the public, such as Leisure in Taoyuan, Farmhouse, Naked Bath in Dongquan and Beyond the Mountain, which are painted by Zhang Jiyu, and we must never analyze the author's creative motivation and expression impulse only from the "color impression", otherwise we will surely draw a purely impressionist conclusion! If we regard Zhang Jiyu's natural scenery paintings as purely visual "color impressions", we may misread or even blaspheme the artistic authenticity and spiritual connotation of the works. In my opinion, behind those magical colors lies the painter's aesthetic preference for artistic expression, his pious concern for nature and life, his boxing feelings for local cultural customs, and his tireless spiritual pursuit and social responsibility. For example, "Leisure in Taoyuan", "Nongjiale" and "Riverside Tea Garden" are by no means simply writing about the garden scenery, but through